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Bibliografie tematiche / Imaginary

Letteratura scientifica selezionata sul tema "Imaginary"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 31 luglio 2024

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Articoli di riviste sul tema "Imaginary"

1

Chaplin, Rachel. "Imaginary". International Journal of Psychoanalysis 102, n. 2 (4 marzo 2021): 399–403. http://dx.doi.org/10.1080/00207578.2020.1821576.

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2

Kornbluh, Anna. "Imaginary". Portable Gray 5, n. 2 (1 settembre 2022): 234–45. http://dx.doi.org/10.1086/722789.

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3

Lesser, Lawrence. "Imaginary". Humanistic Mathematics Network Journal 1, n. 22 (aprile 2000): 48. http://dx.doi.org/10.5642/hmnj.200001.22.16.

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4

MORIARTY, MICHAEL. "Imaginary". Paragraph 17, n. 3 (novembre 1994): 236–43. http://dx.doi.org/10.3366/para.1994.17.3.236.

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5

Nechitaylo, Andrey Yurievich. "The paradox of Minkowski space: Imaginary unit i is not a number but an action sign". Physics Essays 37, n. 2 (3 giugno 2024): 129–32. http://dx.doi.org/10.4006/0836-1398-37.2.129.

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This work explains an internal contradiction (error) in the current understanding of non-Euclidean Minkowski space. This error happens because the imaginary unit <mml:math display="inline"> <mml:mi>i</mml:mi> </mml:math> in the Minkowski space is considered as a number. In order to solve this contradiction, it is explained in this work that the imaginary unit <mml:math display="inline"> <mml:mi>i</mml:mi> </mml:math> must be consider as an action sign over a vector because only direction of the vector could be imaginary, since imaginary length is nonsense. The concept on the imaginarity of vector refers to the directions of vector (as “plus” or “minus”), but not to the length value and therefore, all numbers could be considered as freely rotatable vectors. Being considered from this position, both the imaginary and real directions (not lengths) of a vector would be consistent for different observers, because they could consider different real axes.

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Jaramillo Paredes, Diego. "The imagined city. The territories, the imaginary and the symbolic". Estoa 2, n. 2 (30 maggio 2013): 27–37. http://dx.doi.org/10.18537/est.v002.n002.04.

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7

Tans, Olaf. "Moral Judgment as Make-Believe". Philosophy Today 63, n. 1 (2019): 195–215. http://dx.doi.org/10.5840/philtoday2019612262.

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In relation to the (neo-)Kantian theory that moral judgments are imaginarily grounded, this contribution explores how moral agents experience and make use of this imaginary groundedness. Drawing from a strand of aesthetics that conceives of imagination as make-believe, the imaginary ground of moral judgment is theorized to stem from the interaction between active participants who pretend that their claims are grounded, and passive participants who are invited to go along. Based on this reconstruction, the experience of the moral imaginary is argued to stem from a divided mind. It allows moral agents to be partly devoted to the mental and communicative attitude fitting the fictional world of groundedness, and partly to generating personal responses to moral claims. Using the experience of artistic fiction as an example, the actual experience of morality’s imaginary ground is finally located in the interplay between those two spheres.

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Peris Blanes, Jaume. "Un viaje por el infierno, de Alberto Gamboa: escritura testimonial e imaginario de la reconciliación". Literatura y Lingüística, n. 24 (18 maggio 2015): 81. http://dx.doi.org/10.29344/0717621x.24.98.

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ResumenEl artículo analiza el testimonio Un viaje por el infierno, de Alberto Gamboa,que articuló el imaginario periodístico del que provenía su autor y la escrituratestimonial que había sido de gran importancia en el exilio, pero que había carecido de espacios de expresión en el Chile de la dictadura. El autor analiza el modo en que el testimonio de Gamboa puso en contacto por primera vez las características enunciativas de las escrituras testimoniales con el imaginario de la reconciliación nacional.Palabras clave: Testimonio, dictadura chilena, reconciliación nacional, libro reportaje Un viaje por el infierno by Alberto Gamboa: testimonial writing and imaginary of the ReconciliationAbstractThe author focuses on the testimony Un viaje por el infierno, written by the survivor Alberto Gamboa, which articulated the imaginary of journalism basedon his testimonial writing. Moreover, it relates, for the first time, to the mainfeatures of testimonies to the imaginary of national reconciliation.Key words: Testimony, Chilean dictatorship, national reconciliation, journalism El trabajo se enmarca en una investigación postdoctoral más amplia en torno a los discursossobre la represión y los imaginarios de la memoria en el Cono Sur latinoamericano

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Harrison, Katherine. "Imaginary Americas". New Formations 70, n. 70 (13 gennaio 2011): 175–79. http://dx.doi.org/10.3898/newf.70.rev04.2010.

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10

Morton, Adam. "Imaginary Emotions". Monist 96, n. 4 (2013): 505–16. http://dx.doi.org/10.5840/monist201396423.

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Tesi sul tema "Imaginary"

1

Weisbard, Daniel J. "Imaginary spaces /". Online version of thesis, 2007. http://hdl.handle.net/1850/5869.

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2

Gustafson, Sean. "Imaginary Interfaces". Phd thesis, Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2013/6896/.

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The size of a mobile device is primarily determined by the size of the touchscreen. As such, researchers have found that the way to achieve ultimate mobility is to abandon the screen altogether. These wearable devices are operated using hand gestures, voice commands or a small number of physical buttons. By abandoning the screen these devices also abandon the currently dominant spatial interaction style (such as tapping on buttons), because, seemingly, there is nothing to tap on. Unfortunately this design prevents users from transferring their learned interaction knowledge gained from traditional touchscreen-based devices. In this dissertation, I present Imaginary Interfaces, which return spatial interaction to screenless mobile devices. With these interfaces, users point and draw in the empty space in front of them or on the palm of their hands. While they cannot see the results of their interaction, they obtain some visual and tactile feedback by watching and feeling their hands interact. After introducing the concept of Imaginary Interfaces, I present two hardware prototypes that showcase two different forms of interaction with an imaginary interface, each with its own advantages: mid-air imaginary interfaces can be large and expressive, while palm-based imaginary interfaces offer an abundance of tactile features that encourage learning. Given that imaginary interfaces offer no visual output, one of the key challenges is to enable users to discover the interface's layout. This dissertation offers three main solutions: offline learning with coordinates, browsing with audio feedback and learning by transfer. The latter I demonstrate with the Imaginary Phone, a palm-based imaginary interface that mimics the layout of a physical mobile phone that users are already familiar with. Although these designs enable interaction with Imaginary Interfaces, they tell us little about why this interaction is possible. In the final part of this dissertation, I present an exploration into which human perceptual abilities are used when interacting with a palm-based imaginary interface and how much each accounts for performance with the interface. These findings deepen our understanding of Imaginary Interfaces and suggest that palm-based Imaginary Interfaces can enable stand-alone eyes-free use for many applications, including interfaces for visually impaired users.
Die Größe mobiler Geräte ist vornehmlich bestimmt durch die Größe des Berührungsbildschirms. Forscher haben daher erkannt, dass der Weg zur äußersten Mobilität in der kompletten Aufgabe des Bildschirms liegt. Solche tragbaren Geräte werden durch Handgesten, Sprachbefehle oder eine kleine Anzahl physikalischer Tasten gesteuert. Mit der Aufgabe des Bildschirms geben diese Geräte allerdings auch den momentan weitverbreiteten Stil räumlicher Interaktion auf (zum Beispiel das Betätigen von Tasten), da scheinbar nichts existiert, das man betätigen kann. Leider verhindert diese Entwicklung, dass Benutzer Interaktionswissen, welches sie sich auf herkömmlichen berührungsempflindlichen Geräten angeeignet haben, anwenden können. In dieser Doktorarbeit stelle ich Imaginary Interfaces vor, imaginäre Benutzerschnittstellen, die räumliche Interaktionen auf bildschirmlosen mobilen Geräten ermöglichen. Diese Schnittstellen erlauben Benutzern, im leeren Raum vor ihnen oder auf ihren Handfläche zu zeigen und zu zeichnen. Zwar können Benutzer die Ergebnisse ihrer Interaktion nicht sehen, sie erhalten jedoch visuelle und taktile Rückmeldung dadurch, dass sie ihre Hände während der Interaktion beobachten und fühlen. Nach der Einführung des Imaginary Interfaces Konzepts stelle ich zwei Hardware-Prototypen vor, die zwei verschiedene Arten von Interaktionen mit Imaginary Interfaces demonstrieren, jeweils mit ihren eigenen Vorteilen: Imaginary Interfaces in der Luft können groß und ausdrucksstark sein, während Imaginary Interfaces basierend auf Handflächen eine Fülle von taktilen Merkmalen aufweisen, die das Erlernen unterstützen. Die fehlende visuelle Ausgabe führt zu einer der Hauptherausforderungen von Imaginary Interfaces, nämlich Benutzern zu ermöglichen, die Anordnung der Benutzerschnittstellen herauszufinden. Diese Doktorarbeit stellt drei Lösungen vor: vorheriges Lernen mit Koordinaten, Durchsuchen mit Tonrückmeldung und Lernen durch Transfer. Letztere demonstriere ich mit Imaginary Phone, einem Imaginary Interface basierend auf Handflächen, das die den Benutzern schon vertraute Anordnung eines physikalischen Mobiltelefons imitiert. Obwohl diese Lösungen die Interaktion mit Imaginary Interfaces ermöglichen, können sie keine Aussage darüber treffen, warum eine solche Interaktion möglich ist. Im letzten Teil dieser Doktorarbeit untersuche ich, welche menschlichen Wahrnehmungsfähigkeiten während der Interaktion mit Imaginary Interface basierend auf Handflächen genutzt werden und zu welchem Ausmaß jede dieser Wahrnehmungsfähigkeiten zur Effizienz bei der Benutzung beiträgt. Diese Ergebnisse vertiefen unser Verständnis von Imaginary Interfaces und legen nahe, dass Imaginary Interfaces basierend auf Handflächen die eigenständige und blickfreie Benutzung von vielen Anwendungen ermöglichen können, eingeschlossen Benutzerschnittstellen für sehbehinderte Benutzer.

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Davis, J. F. "Imaginary desires". Thesis, University College London (University of London), 2015. http://discovery.ucl.ac.uk/1463498/.

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This thesis assesses the case for introducing an imaginative counterpart to desire. The first chapter considers what an imaginative counterpart is, and some initial worries related to introducing an imaginative counterpart to desire. The second chapter considers whether our third person mindreading abilities, and a puzzle about what mental states motivate children’s pretend play, give us reason for introducing i - desires. The third chapter considers whether we have to introduce i - desires to make sense of the desires we apparently direct towards fictional characters. I will argue that introducing i - desires deepens the puzzles related to these three cases, and that genuine desire - based solutions do a better job of making sense of them. I will thus conclude that desire does not have an imaginative counterpart.

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4

Andrews, Susan Lesley, University of Western Sydney, of Performance Fine Arts and Design Faculty e School of Design. "An imaginary other". THESIS_FPFAD_SD_Andrews_S.xml, 1997. http://handle.uws.edu.au:8081/1959.7/458.

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This research paper focuses on a specific period in western art history. The eighteenth and ninteenth centuries held fascination for the author as it marked the beginnings of modern science, a time when the artist and scientist collaborated in a mythical search for a key to unlock the mysterious realm to the unknown. The artist/scientist set on course to discover a new frontier thought to be buried somewhere in woman's body.The paper has been formulated into three chapters. The author has examined how the representation of the body of woman was reduced to a stereotype in both art and science. By examining eight images, she has sought to expose the subjective nature of the artists/anatomists' investigation during this period in history and reveal how art and science formed a complicit alliance in the misrepresentation of the body of woman. Her body became the site and the chosen medium for the projected fears and phantasies of the male imaginary
Master of Arts (Hons)

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5

Williams, Bryden John. "'A Hydrological Imaginary’". Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17891.

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My work questions the ongoing dialogue between technology and nature. This dialogue is most evident in landscapes and their respective ecosystems, specifically rivers. These bodies of water are a fluid mirror reflecting a wavering view of ourselves, a constructed human presence within the natural environment. This thesis offers a way of understanding these pipelines, dams, canals and attendant infrastructures in a conceptual manner. These encapsulating forms that interrupt, shape and utilise the natural realm are the facades of a hydrological imaginary. ‘A Hydrological Imaginary’ addresses this field of tension between the river and its artificial counterparts - canals, pipelines and human-made containments. The core of the thesis is a discussion of rivers, dams and water-based infrastructure that illustrates how environmentally engaged art discourses respond to the technological and sociocultural elements of water. This paper discusses the strategies of artists that work with bodies of water through photography, such as Australian artist David Stephenson and German artists Bernd and Hilla Becher along with my own photographic work. Multi-disciplinary artists such as UK artists Simon Starling and Rachel Whiteread are also discussed, along with the work of American artist Robert Smithson and American artist John Roloff. These conceptual art practices are to be connected to American writer David E. Nye and Scandinavian Professor Terje Tvedt’s ideas on the underlying histories of geopolitics, the technological sublime and Australian writer Martin Thomas’ ideas on the role of environmentalism in art. Thus, this thesis illustrates how art agitates the hydrological realm and contributes to the creation of new reflections, meanings and possibilities from the narratives of contained water, submerged histories and sociocultural attributes to the landscape. I have used my practice to bring context to these concepts around the ideas of contained nature and the movement of water in two solo exhibitions that featured video, photographic and kinetic sculptures created in a range of staged encounters with rivers in Eastern Australia. Alongside my previous work based on the Yangtze River in China in 2012, and work made within the Blue Mountains in 2012 – 2015 prior to commencing this Masters project, this thesis is a distillation of these seemingly disparate bodies of water. It is a narrative on historic systems, aesthetics and possibilities of the natural and the assisted movement of water.

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Andrews, Susan Lesley. "An imaginary other". Thesis, View thesis, 1997. http://handle.uws.edu.au:8081/1959.7/458.

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This research paper focuses on a specific period in western art history. The eighteenth and ninteenth centuries held fascination for the author as it marked the beginnings of modern science, a time when the artist and scientist collaborated in a mythical search for a key to unlock the mysterious realm to the unknown. The artist/scientist set on course to discover a new frontier thought to be buried somewhere in woman's body.The paper has been formulated into three chapters. The author has examined how the representation of the body of woman was reduced to a stereotype in both art and science. By examining eight images, she has sought to expose the subjective nature of the artists/anatomists' investigation during this period in history and reveal how art and science formed a complicit alliance in the misrepresentation of the body of woman. Her body became the site and the chosen medium for the projected fears and phantasies of the male imaginary

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Andrews, Susan Lesley. "An imaginary other /". View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030915.151821/index.html.

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Scaringi, Vanessa Cristina [UNESP]. "Deusa das noites: personagens (des)veladas". Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/90138.

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Made available in DSpace on 2014-06-11T19:24:19Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-08-23Bitstream added on 2014-06-13T18:20:37Z : No. of bitstreams: 1 scaringi_vc_me_rcla.pdf: 515188 bytes, checksum: 7c0ffc7a9b0243e31fea5c68cc6fbcef (MD5)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
O curso do imaginário vai para uma esfera coletiva, além do individual. É um dinamismo que surgiu desde a mitologia e que perpassa séculos, transformando-se em si mesmo e antecipando aquilo que ainda não foi vivido. Em um mundo de sonhos, fantasias, imagens, memórias de muitas cenas que fascinam, encantam, seduzem, (des)velam, surge Afrodite - a deusa das noites - de diversas faces e personagens dançantes de tempos (ir)reais que se fazem passado, presente e futuro. Muitos são os caminhos para encontrá-la e o rumo optado faz da experiência um lugar mágico que se mistura a um lugar comum. Falar de DEUSA DAS NOITES: Personagens (des)veladas significa adentrar em um mundo de desejos, (des)encantos e seduções, movido por personagens de um paradoxo: realidade e ficção. Como a dançarina de striptease, por meio da dança erótica, cria as suas personagens entre a realidade e a ficção, possibilitando a e/ou interferindo na produção de subjetividade? Nesta perspectiva, pode-se pensar a referida pesquisa como espaço de experiências, de modos de afetação e produção de sentidos nos/pelos sujeitos em um cenário onde as danças da vida e do imaginário se entrelaçam. Tomando como princípio que a dança, inclusive a erótica, invoca a presença da imaginação, constitui-se como objetivo deste estudo discutir relações presentes entre o real e o ficcional que permeiam a criação da personagem da dançarina de striptease como processo de subjetivação. Esta pesquisa foi sendo produzida a partir de sete encontros com uma jovem dançarina de striptease de 21 anos de idade. Portanto, não busca fechar uma definição sobre o trabalho com o striptease, mas busca aliar-se à dançarina com o intuito de apontar variações e relações construídas no caminho que se traça para além da busca por uma meta...
The course of the imaginary goes to a collective domain, beyond the individual. It's a dynamism that has emerged since the mythology and has been running through the centuries, transforming in itself and anticipating what has not been lived. In a world of dreams, fantasies, images, memories of many scenes that fascinate, enchant, seduce, (un)ensure, emerges Aphrodite - the goddess of the love - of many faces and dancing characters of (un)real times that make themselves past, present and future. There are many ways to find her and the chosen path makes the experience a magical place that blends with the commonplace. Speaking of GODDESS OF NIGHTS: Characters (un)veiled means entering a world of desires, (dis)enchantment, seduction and fantasy, driven by characters of a paradox: reality and fiction. How does a stripper, through erotic dance, create her characters between reality and fiction, allowing and/or interfering with the production of subjectivity? In this perspective, one might think of a specific research as a space of experiences, ways of affectation and meaning production in/by the subjects in a scenario where the dances of life and imagination intertwine. Taking the principle that the dance, including the erotic, invokes the presence of the imagination, constitute the aim of this study to discuss present relations between the real and fictional that underlie the creation of the character of the stripper as a process of subjectification. This research is being produced from seven encounters with a young, 21 year old stripper. Therefore, it does not seek for a definition about the work with the striptease, but seeks to ally itself with a dancer in order to point out variations and relationships built in the path that is traced beyond the search for a goal. It's like enjoy the details in a work of art, doubting what is said, building the path to walk, casting off the call ... Do you want to dance with me?

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ARANTES, HAENDEL MOTTA. "THE IMAGINARY IN ANALYSIS". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=8286@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
O que o curso de uma análise opera no registro Imaginário? Para tratar a questão, a pesquisa parte do exame do conceito freudiano de realidade psíquica, articulando-o à tríade de registros lacaniana - Real, Simbólico, Imaginário. Em seguida, examina o conceito de fantasia em Lacan, amarração matriz por onde é erguida a cena imaginária para um sujeito. Por fim, no interior da experiência clínica, localiza o caminho de uma reconstrução síntese da fantasia, a avançar segundo os passos do recordar, repetir, elaborar apontados em Freud.
What the curse of analysis operates on Imaginary? To treat this issue, this research exams the freudian concept of psychical reality, articulating it to Lacan´s three categories - Real, Symbolic, Imaginary. Next, it exams the concept of fantasy in Lacan´s theory, an essential arrangement where from imaginary scene is built for a person. Finally, inside the clinical experience, it locates a way to reconstruct a fantasy´s synthesis, according to the steps of recollection, repetition, workingthrough indicated by Freud.

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Kazimierczak, Karolina Agata. "Translating Imaginary Aliens,Transgressing Imaginary Scholars : Invented Languages and the Performances of Fan/Scholarship". Thesis, Lancaster University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531700.

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Libri sul tema "Imaginary"

1

Finkielkraut, Alain. The imaginary Jew =: Le juif imaginaire. Lincoln: University of Nebraska Press, 1994.

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Alison, Lurie. Imaginary friends. New York: Avon Books, 1991.

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Epp, Darrell. Imaginary maps. Winnipeg, Man: Signature Editions, 2009.

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Fife, Wayne. Imaginary Worlds. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-08641-0.

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Owen, Maureen. Imaginary income. Brooklyn, N.Y: Hanging Loose Press, 1992.

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Lurie, Alison. Imaginary friends. London: Minerva, 1995.

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Gonzalez, Julie. Imaginary Enemy. New York: Random House Children's Books, 2008.

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Pat, Carlen, a cura di. Imaginary penalities. Cullompton, Devon, UK: Willan Publishing, 2008.

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Escamilla, Rachelle Linda. Imaginary animal. Detroit, Michigan: Willow Books, 2015.

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Episcopus, Goran. Elképzelt Utazás: Imaginary Journey, Imaginarno Putovanje, Viaje Imaginario. Lulu Press, Inc., 2021.

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Capitoli di libri sul tema "Imaginary"

1

Glantz, Kalman, e J. Gary Bernhard. "Imaginary Sticks, Imaginary Stones". In Self-Evaluation and Psychotherapy in the Market System, 39–54. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351124966-6.

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Longhofer, Jeffrey. "Imaginary". In A-Z of Psychodynamic Practice, 106–7. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-03387-1_39.

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Salazar, Noel B. "Imaginary". In Encyclopedia of Tourism, 456–57. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-01384-8_267.

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4

Novik, Alina. "Imaginary travel to imaginary Constantinople". In Russia in Asia, 49–64. London ; New York, NY : Routledge/Taylor & Francis Group, 2020. | Series: Routledge studies in modern history: Routledge, 2020. http://dx.doi.org/10.4324/9780429341298-3.

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Raspa, Venanzio. "Imaginary Logic". In Thinking about Contradictions, 75–104. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66086-8_5.

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Kyriakodis, George. "Imaginary Satellites". In Computer Fraud Casebook, 115–24. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781119197416.ch12.

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Møllgaard, Eske J. "The Imaginary". In The Confucian Political Imagination, 19–48. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-74899-3_2.

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Tuniz, Claudio, e Patrizia Tiberi Vipraio. "Imaginary Worlds". In From Apes to Cyborgs, 105–17. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-36522-6_10.

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Turner, Phil. "Imaginary Use". In Human–Computer Interaction Series, 103–20. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37348-1_5.

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Weik, Martin H. "imaginary number". In Computer Science and Communications Dictionary, 753. Boston, MA: Springer US, 2000. http://dx.doi.org/10.1007/1-4020-0613-6_8670.

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Atti di convegni sul tema "Imaginary"

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Kimoto, Keiko. "Imaginary · Numbers". In ACM SIGGRAPH ASIA 2008 artgallery: emerging technologies. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1504229.1504266.

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Gustafson, Sean, Daniel Bierwirth e Patrick Baudisch. "Imaginary interfaces". In the 23nd annual ACM symposium. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1866029.1866033.

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Zaldua, Jairo, e Nicola K. Green. "Imaginary Friends". In Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.21.

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North, Steve. "Imaginary Studies". In CHI '19: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3290607.3310428.

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Casu, Matteo, Marinos Koutsomichalis e Andrea Valle. "Imaginary soundscapes". In the 9th Audio Mostly. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2636879.2636885.

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Gustafson, Sean, Christian Holz e Patrick Baudisch. "Imaginary phone". In the 24th annual ACM symposium. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2047196.2047233.

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Gustafson, Sean. "Imaginary interfaces". In the 2012 ACM annual conference extended abstracts. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2212776.2212867.

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Padua, Sydney. "Imaginary engines". In Ada Lovelace Symposium 2015- Celebrating 200 Years of a Computer Visionary. New York, New York, USA: ACM Press, 2015. http://dx.doi.org/10.1145/2867731.2867735.

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Steins, Christian, Sean Gustafson, Christian Holz e Patrick Baudisch. "Imaginary devices". In the 15th international conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2493190.2493208.

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Quinteros, Cami, Gabriella Rossi, Hesham Shawqy, Iliana Papdopoulou e David Leon. "Imaginary Vessels". In ACADIA 2021: Realignments: Toward Critical Computation. ACADIA, 2021. http://dx.doi.org/10.52842/conf.acadia.2021.142.

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Rapporti di organizzazioni sul tema "Imaginary"

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Pédarros, Élie, Jeremy Allouche, Matiwos Bekele Oma, Priscilla Duboz, Amadou Hamath Diallo, Habtemariam Kassa, Chloé Laloi et al. The Great Green Wall as a Social-Technical Imaginary. Institute of Development Studies, aprile 2024. http://dx.doi.org/10.19088/ids.2024.017.

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Abstract (sommario):

The Great Green Wall for the Sahara and the Sahel Initiative (GGWI), launched in 2007 by the African Union, is one of Africa’s most important green transformation projects. From a pan-African environmental movement to a mosaic of locally managed projects to its considerable funding from the international community, the GGWI is now seen as a ‘megaproject’. While this megaproject has been primarily studied along the lines of political ecology and critical development studies, both showing the material limits and effectiveness of the initiative, its impact on the ground remains important in that the Sahelian landscape is shaped by donor and development actors’ discourses and imaginaries. The conceptual debates around the notion of ‘future’ thus make it possible to capture and facilitate the emergence of endogenous practices and environmental knowledge which involve the population, their history, and their culture using specific methods. By implementing the relationship formulated by Jacques Lacan between symbolic, reality and imaginary, this project will make it possible to approach the GGWI project as a social-technical imaginary while considering the complex social-ecological processes that this project involves.

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Donovan, Kevin P. The Biometric Imaginary: Standardization and Objectivity in Post-Apartheid Welfare (WP 335). University of Cape Town, 2013. http://dx.doi.org/10.35648/20.500.12413/11781/ii071.

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Marcone, Jorge. Jungle Fever: The Ecology of Disillusion in Spanish American Literature. Inter-American Development Bank, novembre 2007. http://dx.doi.org/10.18235/0007958.

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Jorge Marcone (1959-), Peruvian associate professor in the Department of Spanish, Latin American Studies and Comparative Literature at Rutgers, State University of New Jersey. His research and teaching focus on practical environmental imaginary present in literature in Spanish and the Americas.

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Islas, O., A. Arribas e F. Gutiérrez. The contribution of Alvin Toffler to the theoretical and conceptual imaginary of communication. Revista Latina de Comunicación Social, marzo 2018. http://dx.doi.org/10.4185/rlcs-2018-1274en.

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Bordo, Michael, e Anna Schwartz. The ECU - An Imaginary or Embryonic Form of Money: What Can We Learn from History? Cambridge, MA: National Bureau of Economic Research, agosto 1987. http://dx.doi.org/10.3386/w2345.

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Mager, Astrid, a cura di. Search engine imaginary - Visions and values in the co-production of search technology and Europe. Vienna: self, 2018. http://dx.doi.org/10.1553/ita-pa-am-2017.

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Maya Cruz, José Luis. Working paper PUEAA No. 20. Imaginaries created by the media in Mexico about Afghanistan. Universidad Nacional Autónoma de México, Programa Universitario de Estudios sobre Asia y África, 2023. http://dx.doi.org/10.22201/pueaa.005r.2023.

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Abstract (sommario):

Following the withdrawal of U.S. troops from Afghanistan, after 20 years of occupation, the eyes of different sectors around the world have turned to that Asian country. Mexico's mass media are no exception. Day by day they report stories from different perspectives, through which Mexicans form an imaginary of that country. It is true that the media, in its different formats, directly influences the perception that people form about Afghanistan, but how close to reality are these stories?

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Hart, Heidi. Everybody Wants to Be ‘Origines’: Nativism, Neo-pagan Appropriation, and Ecofascism. European Center for Populism Studies (ECPS), marzo 2021. http://dx.doi.org/10.55271/pp0005x.

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This paper explores the tensions that emerge in neo-pagan media and practices, when they appeal not only to far-right enthusiasts but also to those with a left-leaning, environmentalist bent. New Age appropriation of Indigenous cultures and the anti-human temptations of ecofascism further complicate the picture. Ultimately, any group that follows a purity mentality, seeking deep, unadulterated roots in nature, risks nativist thinking and exclusion of those without the privilege of imagining themselves doing heroic deeds in equally imaginary, old-growth woods.

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Ng, K. Y. An imaginary-{gamma}{sub t} lattice with dispersion-free straights for the 50 GeV high-intensity proton synchrotron. Office of Scientific and Technical Information (OSTI), febbraio 1997. http://dx.doi.org/10.2172/481831.

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Delgado, Jaime Fernando, e Müjdat Çetin. Modeling differences in the time-frequency representation of EEG signals through HMM’s for classification of imaginary motor tasks. Sabanci University, maggio 2011. http://dx.doi.org/10.5900/su_fens_wp.2011.16498.

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